Amazing Grace is two days of Baptist church condensed to 90 minutes and injected directly into your soul.
* This filmography is not intended to be a comprehensive list of this artist’s work. Instead it reflects the films this person has been involved with that have been reviewed on this site.
If all blockbuster-sized entertainments were even half as ambitious and ingenious as these films have been, moviegoers would be infinitely better off.
What our TV critic would nominate for Emmys for the 2017-18 season.
A look back at "The Americans," on the occasion of its series finale last week.
There’s no reason to assume, or even worry, that Fields, Weisberg, and their invaluable lead actors will stumble as they approach the finish line of “The Americans.”
The best of the 2016-17 TV season in Emmy ballot form.
A review of the new season of FX's "The Americans," television's best program.
An excerpt from this month's edition of online magazine Bright Wall/Dark Room.
A TV critic's picks for the best TV of 2015-16.
A preview of dozens of films coming out this summer.
A review of the fourth season of FX's "The Americans."
The best television programs of 2015.
What should be nominated for Emmys this year? Let us guide the way.
A TV review of FX's "The Americans".
Picks for the best of the 2013-14 television season, in the form of a Dream Emmy ballot.
Jana Monji reports from WonderCon 2014, including details on The Maze Runner, How to Train Your Dragon 2 & Dawn of the Planet of the Apes.
With several new dramas returning or premiering in the next week, Brian Tallerico says The Americans and The Red Road are two to watch.
Katherine Tulich sits down with "Austenland" star Keri Russell, writer/director Jerusha Hess, and author Stephenie Meyer, whose company, Fickle Fish Films, produced the film.
Marie writes: I've been watching a lot of old movies lately, dissatisfied in general with the poverty of imagination currently on display at local cinemas. As anyone can blow something up with CGI - it takes no skill whatsoever and imo, is the default mode of every hack working in Hollywood these days. Whereas making a funny political satire in the United States about a Russian submarine running aground on a sandbank near a small island town off the coast of New England in 1966 during the height of the Cold War - and having local townsfolk help them escape in the end via a convoy of small boats, thereby protecting them from US Navy planes until they're safely out to sea? Now that's creative and in a wonderfully subversive way....
Marie writes: The West Coast is currently experiencing a heat wave and I have no air conditioning. That said, and despite it currently being 80F inside my apartment, at least the humidity is low. Although not so low, that I don't have a fan on my desk and big glass of ice tea at the ready. My apartment thankfully faces East and thus enjoys the shade after the sun has crossed the mid-point overhead. And albeit perverse in its irony, it's because it has been so hot lately that I've been in the mood to watch the following film again and which I highly recommend to anyone with taste and a discerning eye.
This is a free sample of the Newsletter members receive each week. It contains content gathered from recent past issues and reflects the growing diversity of what's inside the club. To join and become a member, visit Roger's Invitation From the Ebert Club.
Marie writes: Not too long ago, Monaco's Oceanographic Museum held an exhibition combining contemporary art and science, in the shape of a huge installation by renowned Franco-Chinese artist Huang Yong Ping, in addition to a selection of films, interviews and a ballet of Aurelia jellyfish.The sculpture was inspired by the sea, and reflects upon maritime catastrophes caused by Man. Huang Yong Ping chose the name "Wu Zei"because it represents far more than just a giant octopus. By naming his installation "Wu Zei," Huang added ambiguity to the work. 'Wu Zei' is Chinese for cuttlefish, but the ideogram 'Wu' is also the color black - while 'Zei' conveys the idea of spoiling, corrupting or betraying. Huang Yong Ping was playing with the double meaning of marine ink and black tide, and also on corruption and renewal. By drawing attention to the dangers facing the Mediterranean, the exhibition aimed to amaze the public, while raising their awareness and encouraging them to take action to protect the sea.
Marie writes: Kudos to fellow art buddy Siri Arnet for sharing the following; a truly unique hotel just outside Nairobi, Kenya: welcome to Giraffe Manor.
Marie writes: Behold a living jewel; a dragonfly covered in dew as seen through the macro-lens of French photographer David Chambon. And who has shot a stunning series of photos featuring insects covered in tiny water droplets. To view others in addition to these, visit here.
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Marie writes: club member Sandy Kahn has found some more auctions! Go here to download a free PDF copy of the catalog.
As far as I know, "a mixed bag" is a negative expression, but I think that is an appropriately positive one in case of "Leaves of Grass" (2009) for its seemingly disjointed combination of crime story and philosophy. The movie throws such discrepant stuff into its plot that it could actually make a good shopping list: Latin, marijuana, Socrates, crossbows, poetry, bongs, Heidegger, family, catfish, Whitman, parallel lines, menorahs, swastikas, murder, and so on.
This is the last of my lists of the best films of 2010, and the hardest to name. Call it the Best Art Films. I can't precisely define an Art Film, but I knew I was seeing one when I saw these. I could also call them Adult Films, if that term hadn't been devalued by the porn industry. These are films based on the close observation of behavior. They are not mechanical constructions of infinitesimal thrills. They depend on intelligence and empathy to be appreciated.
They also require acting of a precision not necessary in many mass entertainments. They require directors with a clear idea of complex purposes. They require subtleties of lighting and sound that create a self-contained world. Most of all, they require sympathy. The directors care for their characters, and ask us to see them as individuals, not genre emblems. That requires us to see ourselves as individual viewers, not "audience members." That can be an intimate experience. I found it in these titles, which for one reason or another weren't on my earlier lists. Maybe next year I'll just come up with one alphabetical list of all the year's best films, and call it "The Best Films of 2011, A to Z."